I started my pottery career at Loughborough College of Art, followed by a year in London, at Goldsmiths on their Postgraduate course.  My career has taken me to many places after my studies including working in Nigeria as a VSO potter and some years later I also spent time out in South India as lead potter for a charitable trust establishing a small scale production pottery in Tamil Nadu. Inspiration for some of my work comes from the visual  journals I kept at those times with studies of nature and pots.

I was apprentice Potter at Muchelney Pottery with John Leach, Nick Rees and Lizzie Leach where I spent 3 years contributing to the production range of wood-fired pottery. It was through making repeat wares during the day and my own work in the evening that I developed my skills.

Only by immersing myself in the techniques and style of British studio pottery’s founding father Bernard Leach, was I able to find my true voice as a potter

My pottery studio is a workshop in  Colyton, Devon .   I work in stoneware clay from Cornwall and France and some porcelain blends , I enjoy clay that hasn’t been over processed that feels like a traditional body .  I fire in a gas kiln in a reduction atmosphere, literally the pots are transformed by fire .

I prefer matt surfaces and textures that resemble the wood fired pottery and surfaces of the clamp fired water jars I saw in Nigeria. It is the surface patina and plain colours that have prevailed whilst developing as a maker that interest me most.

What interests me is the use of real pots in our lives that create calmness and finds ‘still centres’ in our day to day world.

I enjoy the  production of tableware, as these accessible forms can also stretch the potential of domestic  ware and can play their  part in a still life that makes for a quiet collection of empty vessels, calm silhouettes of shape and surface grouped together.

I like to sense the peacefulness in a group of empty bowls after the enjoyment of a meal. I think this is my perfect kind of quiet moment.

I like the exactness of making in repetition and the satisfaction of a thoughtfully produced board of forms – all with a shared memory of each other.

I delight in the spots of iron that appear during firing and freckle bowls like birds eggs.

Jug handles detail


I enjoy the clay process that concentrates my awareness at every stage and the small details of each and every pot that contain slight nuances in character every time.